Alvar Aalto 1898-1976

curly birch and birch veneered plywood

Architecture and Furniture: Aalto, exhibition catalogue, Museum of Modern Art, New York, 1938, p. 27
Alvar Aalto Furniture, Cambridge, MA, 1985, pp. 76126
Charlotte and Peter Fiell, 1000 Chairs, Cologne, 2000, p. 217,222
Pirkko Tuukkanen, ed., Alvar Aalto Designer, Helsinki, 2002, pp. 70, 74, 79 and 83
Doug Ngo and Eric Pfeiffer, Bent Ply:  The Art of Plywood Furniture, New York, 2003, p.33
Hatje Cantz, Alvar & Aino Aalto. Design, Bonn, 2005, pp. 29 (for a design drawing of the model) 43,45-47

Seat is of a darker tone, less yellow, than suggested by catalogue illustration. With exceptional figuring overall, which is more pronounced than catalogue suggests. Significant wear to tops of arms, with some discolouration and some old worm holes. A couple of minor losses to veneer, most significant a loss to the inside left arm (facing) approx. 1cm by 0.5cm. Some minor separation to wood layers at end of legs. A stylish model which is ready for display.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The 'bent knee' joint introduced by Alvar Aalto in 1929 was a radical innovation that allowed the designer to attain a 90 degree bend with a single board and work with the endless possibilities he saw in furniture made from his native birch.  By applying thin pieces of wood into a cross section of a larger board, Aalto was able to convert designs which he had previously only been able to execute in tubular metal.  The freedom of this design element allowed Aalto to work almost exclusively in birch, which aesthetically complemented his ideal of harmony of nature, function and design.

 

In 1932, Aalto began to attain international recognition via a series of exhibitions and commissions.  The Paimio Sanatorium in southwest Finland was a platform for introduction of his iconic cantilevered armchairs which were presented within the scheme of the interior in 1932.  Both the model 41(known as the 'Paimio' chair) and the model 42 chairs were designed for inclusion in this historic commission and serve as one of the early innovations of modern bentwood furniture.   For these chairs, Aalto created a harmony of concave and convex bends both in the chair seat and independent frame.

 

According the Artek archives, the current lot is an early production example executed in curly birch as a special edition.  Due to difficulty in obtaining the material and production complications less than twenty examples are known to have been made.